정몽주 초상화의 제작과 숭모

Abstract

The portrait of Jeong Mong-Joo(鄭夢周) is divided into a full-body portrait(全身 肖像畵) enclosed in Seowon, Sadang, and Yeongdang(影堂:The the household shrine where the portrait) is enshrined, and a half-body portrait(半身 肖像畵) in collections of writings and paintings(畵帖). Full-body portraits of the Joseon Dynasty were produced to commemorate and worship Jeong Mong-ju through orientation and ancestral rites. During the Joseon Dynasty, half-body portraits were produced for the purpose of gifts, appreciation, and edification, but Japanese colonial era was printed and spread as part of colonial rule. In this article, the portrait of Poh-Eun Yeongdang(圃隱影堂) was not a modern work, but a portrait produced by Han Si-Gak(韓時覺) in 1677, which was renovated by Han Jong-Yu(韓宗裕) in 1768 and revised again in the 20th century. In addition, a draft of the portrait owned by Seoul National University(서울大學校) was considered to have been produced in the late 18th century in the style of the background material and work. In other words, the portrait of Jeong Mong-joo can be divided into a portrait type in 1555 and a portrait type of Han Jong-yu in 1768. In Japanese colonial era, portraits of Soongyang Confucian Academy(崧陽書院) became more popular by people traveling between Kaesong(開城), the center of transportation. Lee Han-Cheol(李漢喆) also revealed that he copied Han Jong-yu's portrait. It was found that the adoration method and style of the portrait changed according to the production method and type of portrait of Jeong Mong-Joo.